right about this time, 1782 to 1785, Mozart was writing his Haydn Quartets, six of them, in the very fashion, not incidentally,of Haydn, as a tribute to the master, the father, the very originator of the string quartet

Mozart follows the master in kind, thenumber of movements, the selectionof tempi, there’s even again a minuet,an aristocratic prerequisite, note even the delicate, the deferential, endings, to all, not just one, of the movements,a trait indicative of Haydn, his courtly, courteous reserve before any toopersonalized spotlight, however manifest his brilliance – noblesse,in other words, oblige

Mozart follows immaculate suit

you might find it difficult to distinguishbetween Mozart and Haydn, I do, the differences are so subtle as to be nearly, for the most part, indistinguishable, their periods overlap, their contexts were not at all dissimilar, just even Vienna as their musical core

the aristocracy was still, evidently, in charge, however henceforth briefly, and paying the bills, and the mood required remained respectful, polite, unpolitical, which both composersdutifully obliged, neither subjecting himself to any constraints around his higher manifest destiny, his irresistiblemuse, the pursuit of pure, and unadulterated, music